Agb’oju L’ogun was the dance floor hit sensation of 1979. Nigerian composer Shina Williams managed to gather the finest musicians working in Lagos, and this boogie beast is what they came up with.
Thanks to Guy Segers for publishing this classic of Japanese progressive rock.
Bi Kyo Ran were rather unfairly tagged as a Japanese King Crimson clone. By this album, that image was finally shed.
They are apparently still active doing soundtracks for TV shows in Japan, but I can’t imagine any of the new material having the power of this disc.
It’s for albums like this that I have such a love of Bandcamp. This release originally came out in 1997, and was a collection of pieces of Soliman Gamil’s other records for the Touch Label. Though they would have made lovely soundtrack music, it’s more an exploration of and experimentation with Egyptian classical music. A well-done reissue by Mike Harding and Touch.
Momo Wandel Soumah was a saxophonist and vocalist from Guinea who did a stunning job mixing jazz (especially that of the Charlie Parker and John Coltrane variety) with ethnic music from his region of the world. This session was recorded in 1991.
He passed away in 2003, but left this album as his legacy.
My first introduction to the world of Paul Bowles, as well as the Sub Rosa record label, was through this disc. The combination of stories read by Bowles himself, as well as the artwork and ambiance by storyteller Mohammed M’Rabet, made it wonderful bedtime listening, allowing me to transport my mind to what a hazy, stoned Tangier must have been like in the 1950s and 60s. This aged very nicely.